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Artist | Yuki Onodera Works Overview

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Artist | Yuki Onodera Works Overview Artist Tokyo Here Ballon Japan ICICLE SPACE Shanghai China Where 崇真艺客

有机·奥诺黛拉

Yuki Onodera

Yuki Onodera was born in Tokyo, Japan in 1962. Now Lives and works in Pairs. Her recent solo exhibitions include: “Here, No Ballon”, Ricoh Art Gallery, Tokyo, Japan (2022); “Burning with Desire”, ICICLE SPACE, Shanghai, China (2020), “To Where”, Yumiko Chiba Associates Viewing Room, Tokyo, Japan (2020); “From Where”, The Ginza Space, Tokyo, Japan (2020); “Everywhere Photographs”, ZEIT-FOTO Kunitachi, Tokyo, Japan (2020); “Paris Photo”, Grand Palais Paris, Paris, France (2019); “The Bird Escaped from Camera Where to Go? ”, Vanguard Gallery, Shanghai, China (2018); “Yuki Onodera”, Kido Press, Tokyo, Japan (2018); “Yuki Onodera”, Kyoto Museum of Photography, Kyoto, Japan (2018). She also attended the following group exhibitions: “Sagacho Exhibit Space 1983–2000: Fixed-Point Observation of Contemporary Art”, The Museum of Modern Art, Gunma, Japan (2020); “Pictures from another wall”, De Pont Museum, Tilburg, Nederland (2020); “Photography? Why?”, Yves Saint Laurent Museum, Comptoir des Mines Gallery, Palace el Badi, Marrakech, Marrakesh, Morocco (2019); “Contemporary Photography and City: From a Forgotten Perspective”, Min Sheng Contemporary Art Museum, Shanghai, China (2019); “Genealogy of Pop Art”, Shizuoka Prefectural Museum of Art, Shizuoka, Japan (2019)“NMAO collection with Alberto Giacometti II”, The National Museum of Art, Osaka, Japan (2019); “Fashion in Images”, Tochigi Prefectural Museum of Fine Arts, Japan (2019); “L'Antichambre”, Centre GeorgeV Art Center, Beijing, China (2019); “Contemporary Art II”, The Museum of Modern Art, Gunma, Japan (2019); “The Objects’ Shadow—Sensory Spaces”, Artisan Lofts Gallery, New York (2019); “Genealogy of Pop Art”, Shizuoka Prefectural Museum of Art, Shizuoka, Japan (2019); “A Beautiful Moment”, Huis Marseille Museum, Amsterdam, The Netherlands (2018). Her works are held in collections around the world, including those of Centre Georges Pompidou, San Francisco Museum of Modern Art, The J. Paul Getty Museum, Shanghai Art Museum and The Tokyo Metropolitan Museum of Photography.

Yuki Onodera is an artist who masters photography that takes form in contemporary art. She uses methods such as clipping newspaper, and machining the works while completing her creation using silver salts photography. She uses any possible method to realize her works, whether this means taking photographs with a marble inside her camera, or creating a story out of a legend and traveling to the ends of the earth to shoot it. Onodera’s experimental work, which does not fit within schemas of “photography” often poses two questions: what is photography, and what can be done through it?

Liquid and Glass

(1994)

34 works | Gelatin silver print on fiber base paper | 115 x 115cm; 60 x 50cm

Onodera takes close-ups of liquid spilling out of a toppled glass. The spill is captured in a state of stillness, held together by its surface tension, just before it is about to move. By enlarging the images to many times life size, she depicts an odd little microcosm existing within the realm of everyday reality.

Portrait of Second-hand Clothes

(1994-97)

52 works | Gelatin silver print on fiber base paper | 115 x 115cm; 60 x 50cm

Onodera mounts about fifty pieces of used clothing in front of the window of her apartment in Montmartre, Paris. She acquired the second-hand clothes at Christian Boltanski’s 1993 Paris exhibition “Dispersion”, while symbolically restoring them to individual life and capturing them as bodiless portraits.

Birds

(1994)

30 works

Gelatin silver print on fiber base paper

115 x 115cm; 60 x 50cm

P.N.I.

(1998-99)

30 works | Gelatin silver print on fiber base paper | 109 x 83cm

The face-like images in these large-format photographs were made by cutting out features from faces appearing in magazines and newspapers and reassembling them in a kind of “pin-the-tail-on-the-donkey” method, giving them a three-dimensional feel by applying them over clay molds.

C.V.N.I.

(1998)

24 works | Gelatin silver print on fiber base paper | 109 x 77cm

How to Make a Pearl

(2000-01)

53 works | Gelatin silver print on fiber base paper | 190 x 127cm; 60 x 50cm; 55.5 x 35.5cm

Inserting a lass marble into her camera, Onodera photographed groups of people on the street during the day. The marble disperses the light, creating shadows in the photographs and creating scenes in which an eerie white sphere seems to be floating above people gathered in the darkness.

Zoo

(2000)

17 works | Gelatin silver print on fiber base paper | 59 x 49cm

Starting with enlarged prints of the eyes of animals photographed in zoos around the world, Onodera superimposes a glass marble in a double exposure. The marble, like a heavenly body suspended in space, envelopes the hard and inarticulate glare of the animal eyes, creating a mysterious gaze. Are we watching or actually being watched?

Look Out the Window

(2000)

23 works | Gelatin silver print on fiber base paper | 59 x 49cm

Small houses standing isolated in the darkness. The deep darkness of the surroundings and the light glowing from the houses’ windows make them seem like illuminated objects floating in space, or toy houses.

Transvest

(2002)

22 works | Gelatin silver print on fiber base paper | 200 x 126cm

It consists of human forms clipped from newspapers and magazines filled in with a photo montage of preexisting fragments of images and photographed with strong backlighting to produce silhouettes. These photos are all enlarged into huge photos of 150cm to 200cm, so that the figures in the photos are the same size as real people.

Watch Your Joints!

(2004)

8 works | Gelatin silver print on fiber base paper | 75 x 106cm

Capturing images from television broadcasts of soccer games on a computer, and selecting single still shots, Onodera manipulates the images by erasing uniform insignia, altering the athletes’ faces, and adding or repositioning soccer balls.

Roma – Roma

(2004)

108 works | Oil on gelatin silver print on fiber base paper | 37 x 49cm

In this series Onodera photographs two cities named Roma with a stereo camera. First, covering one of the lenses, she took 108 photographs of the city of Roma on an island in the Baltic Sea. Rewinding the film, she covered the other lens and took 108 photographs of the city of Roma in Spain.

Eleventh Finger

(2006)

10 works | Gelatin silver print on fiber base paper | 185 x 124cm

This series captures people’s unconscious movements and gestures secretly, without looking through the viewfinder. The faces of the subjects are obscured by pieces of paper perforated in lacy patterns and applied to the photo through the photogram process.

Annular Eclipse

(2007)

3 works | Silkscreen print | 244 x 150 cm; 121 x 80cm

12 Speed

(2008)

12 works | Archrival pigment print on fiber base paper | 124 x 171cm

Pop items reminiscent of the things that might be found in the room of a young girl are displayed on a pink table against a pink backdrop. These self-consciously kitsch objects are set in the middle of the forest of Fontainebleau. This can be seen in the reflection of the trees in mirror placed in the center of the composition.

The World Is Not Small–1826

(2012)

61 works | Archrival pigment print on fiber base paper | Various sizes

Onodera has assembled place names from around the globe, used them to create objects that resemble road signs, installing them in a brightly illuminated room with windows, and photographing them. Now her interest is shifting to a new question—can writing succeed as the subject of photography?

Muybridge’s Twist

(2015-16)

Charcoal, crayon, photography collage on canvas | Various sizes

The title of this series refers to Eadweard Muybridge, the British 19th-century photographer who made history with his serial images that break down motion. Yuki Onodera was also inspired by Futurist paintings, which endlessly repeat the same gestures in order to embody the idea of movement. Here, Onodera brings together magazine images of several different bodies twisted in abnormal positions—the types of poses one never sees in real life—into a single figure, as if it were choreographed.

Study for “Image à la sauvette”

(2015)

16 works | Acrylic paint on gelatin silver print | 50×40cm

ACT

(2015)

Charcoal, crayon, photography collage on canvas | 211 x 422cm

ACT brings together some buildings from the former Soviet Union and other types of buildings for collage on canvas, and then uses materials such as charcoal to apply different layers of shades. This is Onodera's first architectural photography, but it contains infinite physicality.

Architectural Bodies and Events

(2018)

Charcoal, crayon, gelatin silver print, collage on canvas | 300 x 734cm

Darkside of the Moon

(2020)

Gelatin silver print, drip painting, collage on canvas | 130 x 390cm (triptych)

The know of the far side of the Moon, but facing away from the Earth, it remains always dark to us, invisible to our eyes. Onodera's "Darkside of the Moon", however, does not refer to the lunar surface we cannot see, but to events on Earth. In the triptychs, part of each scene has been cut out and then put back into one of the other scenes as a collage.

Onodera disintegrates the fiction of realist photography, and the forms that serve it: the portraits she took are not real portraits, and likewise, the athletes are not real athletes, neither the stone, glass, nor wood city buildings. Photography is a method for her to realize her own true meaning from reality, full of poetry and charm. Instead of documenting the visible, she uses light to create and invent the visible. Therefore, she uses photography to create another reality. We don't care about the equipment and configuration she uses, whether she starts from an image found in a magazine or from her own photo, what matters is that she relentlessly reconsiders the status of the picture.

——

Alain Sayag

Director of the Photography Department of

the Museum of Modern Art, Centre Pompidou

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